BY 


GìAGOMO  F5ARe)ZZji 

OF 


2o 


^0 


THE 


FIVE  ORDERS 

OF 

AECHITECTURE 


BY 

GIACOMO  BAROZZI 

OF 


TIGNOLA 


TRANSLATED  BY 

TOMMASO  JUGLARIS  and  WARREN  LOCKE 


CorYRIGHT,  1889 


GEHY  CENTER  UK^^i 


Digitized  by  the  Internet  Archive 
in  2013 


http://archive.org/details/fiveordersofarchOOvign 


A  SKETCH  OF  THE  LIFE  OF  GIACOMO  BAEOZZI 
OF  TIGNOLA. 


Giacomo  Barozzi  was  born  on  the  1st  of  October,  1507, 
in  Vignola,  near  Modena,  Italy.  He  was  orphaned  at  an 
early  age. 

His  mother's  family,  seeing  his  talents,  sent  him  to  an 
art  school  in  Bologna,  where  he  distinguished  himself  in 
drawing  and  by  the  invention  of  a  method  of  perspective. 
To  perfect  himself  in  his  art  he  went  to  Eome,  studying 
and  measuring  all  the  ancient  monuments  there.  For  this 
achievement  he  received  the  honors  of  the  Academy  of 
Architecture  in  Eome,  then  under  the  direction  of  Marcello 
Cervini,  afterward  Pope.  In  1537  he  went  to  France  with 
Abbé  Primaticcio,  who  was  in  the  service  of  Francis  I. 
Barozzi  was  presented  to  this  magnificent  monarch  and 
received  a  commission  to  build  a  palace,  which,  however, 
on  account  of  war,  was  not  built.  At  this  time  he  de- 
signed the  plan  and  perspective  of  Fontainebleau  castle, 
a  room  of  which  was  decorated  by  Primaticcio.  He  also 
reproduced  in  metal,  with  his  own  hands,  several  antique 
statues. 

Called  back  to  Bologna  by  Count  Pepoli,  president  of  St. 
Petronio,  he  was  given  charge  of  the  construction  of  that 
cathedral  until  1550.    During  this  time  he  designed  many 


GIACOMO  BAROZZr  OF  VIGNOLA. 


3 


other  buildings,  among  which  we  name  the  palace  of  Count 
Isolani  in  Minerbio,  the  porch  and  front  of  the  custom 
house,  and  the  completion  of  the  locks  of  the  canal  to 
Bologna. 

After  this  he  again  went  to  Rome,  and  was  presented  to 
Pope  Julian  III.  by  Vasari.  Julian,  knowing  his  ability, 
com^nissioned  him  his  architect,  and  gave  him  the  super- 
vision of  the  Trevi  aqueduct. 

He  also  gave  him  orders  to  build  a  palace  near  the  Popolo 
gate,  called  the  Julian  villa. 

He  also  built  the  temple  of  St.  Andrew,  and  restored  the 
palace  of  Campo  Marzo  for  the  Monti  family.  This  palace 
afterward  became  the  property  of  the  Duke  of  Florence, 
and  is  still  called  the  Florentine  palace. 

At  the  death  of  Julian,  Vignola  went  into  the  service  of 
Cardinal  Alexander  Farnese,  and  built  that  portion  of  the 
palace  which  contains  the  gallery  painted  by  Carracci.  He 
designed  and  built  the  beautiful  Corinthian  doorway  of 
SS.  Lorenzo  and  Damaso  ;  also  a  Doric  doorway  for  the 
Pope's  palace. 

Cardinal  Farnese  desiring  to  build  the  beautiful  church 
of  Jesus,  gave  Vignola  the  order.  The  foundation  was 
laid  in  1568,  but  Vignola  built  it  only  as  far  as  the  cornice, 
the  remainder  being  hnished  by  Giacomo  della  Porta.  After 
this  Vignola  built  the  churches  of  St.  Anna  and  St.  Martin, 
and  many  other  edifices  in  Rome  and  vicinity;  but  none  of 
them  compare  in  beauty  and  grandeur  with  the  Palace  of 
Caprarola,  which,  according  to  many  biographers,  is  the 
greatest  work  of  this  great  artist. 


4 


GIACOMO  BAROZZI  OF  VIGNOLA. 


Monsignor  Barbaro  declared  that  the  palace  was  greater 
than  Vignola's  fame. 

In  1564,  after  Michael  Angelo's  death,  Vignola  built  the 
beautiful  cupolas  on  St.  Peter's.  At  this  time  he  was  in- 
vited by  Philip  II.  of  Spain  to  travel  thither  to  put  into 
e:^ecution  the  design  Vignola  had  made  for  the  famous 
Escurial  Palace,  but  on  account  of  his  advanced  age  and  his 
attachment  to  Eome,  he  resolved  not  to  make  the  journey. 
After  this  Tignola  settled  a  dispute  between  Pope  Gregory 
XIII.  and  the  Grand  Duke  of  Tuscany,  concerning  the 
boundary  between  two  States  near  Castello,  satisfactorily 
to  both  parties,  with  great  judgment  and  discretion. 

On  his  return  to  Pome,  he  died  at  the  age  of  sixty-six. 
His  funeral  was  celebrated  with  great  pomp,  and  was  at- 
tended by  the  Academicians  of  Rome  in  a  body.  He  was 
buried  in  the  Pantheon. 

Architecture  owes  an  eternal  debt  of  gratitude  to  this 
founder  of  the  laws  governing  the  Five  Orders  of  Architec- 
ture. He  was  the  first  to  reduce  to  rule  and  proportion  the 
various  styles  of  ancient  architecture.  He  also  invented 
the  rule  for  tapering  the  column.  His  treatise  on  the  Five 
Orders  has  become  a  standard  work,  and  he  deserves  the 
title  of  the  Lawgiver  of  Architecture. 


IflE  FIVE  OEDEES  OF  AECHITECTUEE. 

PLATE  I. 


CONCERNING    THE  MODULUS  AND  THE  OR- 
DERS  IN  GENERAL. 

Architecture  the  word  Order  signifies  a  composition 
(in  the  same  style)  of  a  pedestal,  a  cohimn,  and  an  entab- 
lature, together  with  their  ornamentation. 

Order  means  a  perfect  and  regular  disposition  of  all  the 
parts  of  a  beautiful  composition  ;  in  a  word,  order  is  the 
opposite  of  confusion. 

Order  is  necessary  in  all  things,  because,  without  it,  con- 
fusion exists,  that  is  disagreeable  to  the  eye  and  unintelli- 
gible to  the  mind. 

There  are  live  Orders  of  Architecture,  of  which  three  are 
Greek,  —  tlie  Doric,  Ionic,  and  Corinthian  ;  and  two  Italian, 
—  the  Tuscan  and  the  Composite. 

Now,  in  treating  of  the  Orders,  we  must  put  first  the 
details  of  which  they  are  composed,  to  give  a  general  idea 
of  that  which  will  afterward  be  specified  and  described. 

An  Order  is  composed  of  three  parts  :  a  Pedestal,  a  Col- 
umn, and  an  Entablature  ;  but  the  first  is  not  essential. 

Each  of  these  is  also  divided  into  three  parts,  which  are, 
for  the  Pedestal  :  Base,  Plinth,  and  Cap  ;  for  the  Column  : 
Base,  Shaft,  and  Capital  ;  for  the  Entablature  :  Architrave^ 
Frieze,  and  CornicCo 


6 


PLATE  I. 


For  use  in  measuring  and  designing  in  the  Orders,  archi- 
tects have  adopted  a  conventional  measure,  called  a  Modu- 
lus. This  modulus  becomes  the  unit  of  measurement,  and 
is  generally  so  selected  that  it  is  easily  subdivided,  and  is 
also  one-half  the  largest  diameter  of  the  column.  That  is 
to  say,  a  modulus  is  a  variable  measure,  chosen  as  the 
architect's  taste  and  talent  dictates. 

Generally,  the  modulus  taken  is  the  radius  of  the  largest 
part  of  the  column. 

This  modulus  is  divided  into  parts,  and  each  part  equally 
subdivided. 

Vignola  divided  his  modulus,  for  the  Tuscan  and  Doric 
orders,  into  12  parts,  and  the  others  into  18  parts. 


PLATE  II. 


THE  MOULDINGS. 

Mouldings  are  tlie  alphabet  of  Architecture,  and  their 
different  combinations  produce  different  profiles  for  eacli 
order. 

These  mouldings  are  of  three  kinds,  —  plain,  round,  and 
mixed.  No  one  can  depart  from  these  beautiful  geometri- 
cal outlines  of  construction  without  falling  into  error.  It 
will  be  noticed  that  the  mouldings  seldom  project  as  much 
as  their  height,  yet  the  position  from  which  they  are  to  be 
seen  must  be  taken  into  consideration.  In  this  latter  con- 
nection it  would  be  well  to  remember  that  the  prominent 
parts  of  a  building  should  be  most  ornamented. 

There  are  eight  kinds  of  mouldings,  which  are  :  A.  The 
fillet  of  rectangular  section  (the  term  is  independent  of 
size).  B.  The  bead,  which  has  a  semicircular  face.  C.  The 
Quarter-round,  a  quarter-circle.  D.  The  Concave,  a  quarter- 
circle.  E.  The  Ogee.  F.  The  reversed  Ogee.  G.  The  Scotia, 
or  Mouth.  H.  The  Toro,  or  Bull,  which  has  a  semicircular 
face. 

The  following  are  good  rules  for  drawing  the  outlines  of 
the  mouldings  lettered  E,  F,  and  G.  The  one  lettered  E 
and  the  reverse  lettered  F  are  described  in  the  following 
manner  :  — 

Draw  a  perpendicular  line  hd  across  the  moulding.  On 
the  face  of  the  moulding  lay  off  h(i  =  hd.  Complete  the 
square  ahcd  :  ad  is  its  diagonal  ;  the  middle  of  the  diago- 
nal, is  the  middle  of  the  og^e.    From  d  and  e  lay  off  df 


8 


PLATE  II. 


and  ef  each  equal  to  de.  The  point  /  will  be  the  center  of 
an  arc  forming  one-half  of  the  ogee.  The  other  half  of  the 
ogee  is  described  in  the  same  manner. 

To   DESCRIBE   THE  ScOTIA. 

Draw  the  perpendicular  he  across  the  moulding  in  such  a 
position  that  dc  shall  be  ^  of  he.  Complete  the  square  delig  : 
g  is  the  center  for  the  quarter-circle  dli. 

Draw  all,  and  bisect  it  by  Jl.  The  point  /  where  ^  meets 
gli  prolonged,  is  the  center  for  the  arc  liiaj  which  completes 
the  curve  of  the  face  of  the  Scotia. 

The  Tuscan  Pedestal. 

In  all  the  orders  we  have  the  general  rule  that  the  pedes- 
tal is  \  part  of  the  combined  height  of  pedestal,  column, 
and  capital,  or  it  is  4-|  moduli.  Vignola  gives  the  base  of 
the  pedestal  a  height  of  i  modulus,  adorned  by  a  listel  (E) 
and  a  hllet  (D). 

The  cap  of  the  pedestal  is  also  ^  modulus  high,  and 
is  made  up  of  an  ogee  (B),  with  a  fillet  (A)  over  it. 
Both  the  base  and  cap  project  i  modulus  from  the  side  of 
the  plinth.    The  plinth  is  3|  moduli  in  height. 

The  Base  of  the  Column. 

The  base  of  the  column  must  be  placed  over  the  cap  of 
the  pedestal  and  be  of  the  same  width  as  the  plinth.  The 
height  of  the  base  of  the  column  is  1  modulus,  and  its  pro- 
jection is  4i  parts  from  the  side  of  the  column. 

In  the  figure,  A  is  the  shaft  of  the  column,  B  its  bottom 
fillet,  —  the  same  for  columns  of  all  orders,  —  C  the  bull, 
D  the  base. 


PLATE  III. 


THE    TUSCAN  CAPITAL  AND  ENTABLATURE. 

ViGNOLA  gives  the  Tuscan  capital  a  height  of  1  modulus 
and  a  projection  of  5  parts. 

The  frieze  of  the  capital  has  the  same  diameter  as  the 
upper  part  of  the  shaft  of  the  column. 

The  entablature  —  that  is^  the  architrave,  frieze,  and  cor- 
nice —  is  3|-  moduli  in  height,  which  is  one-quarter  of  the 
combined  height  of  base,  columu,  and  capital. 

The  architrave  is  1  modulus  in  height,  and  is  adorned  by 
a  lis  tei  of  \  of  its  height  and  \  projection.  The  frieze  is 
IJ-  moduli  in  height.  The  cornice  is  1^  moduli  and  projects 
1\  moduli. 

The  outline  is  as  follows  :  a,  cornice  ;  frieze  ;  c,  listel, 
or  fillet  of  architrave  ;  listel  of  capital  ;  abacus  of  capi- 
tal ;  /,  frieze  of  capital  ;  top  bead  of  column,  —  this  last 
is  the  same  in  all  orders,  —  li,  the  shaft  of  the  column  ;  A, 
plan  of  the  capital. 


PLATE  IV. 


PLAIN  TUSCAN  INTERCOLUMNIATION 

As  a  general  rule,  Vignola  divides  every  order  —  without 
pedestal  —  into  5  parts  :  4  for  the  column,  with  base  and 
capital,  and  1  for  entablature.  Vignola  gave  the  Tuscan 
column,  with  base  and  capital,  7  diameters  in  height,  from 
which  the  entablature  is  3^  moduli  high.  Hence  the  total 
height  is  11\  moduli,  or  8|  diameters. 

The  distance  between  centers  of  columns  is  6  moduli  and 
8  parts,  or  3|  diameters. 

The  mouldings  have  been  described. 


PLATE  V. 


TUSCAN  ARCHED  INTEECOLUMNIATION, 

In  the  arched  Tuscan  inter columniation  without  pedestal 
we  have  the  arch  opening,  with  the  proportion  of  the  height 
twice  the  breadth^  or,  to  be  exact,  13  moduli  high  and  6^ 
wide. 

The  pilasters  behind  the  columns  are  3  moduli  wide, 
which  gives  9|-  moduli  between  centers  of  columns.  Given 
these  dimensions,  the  others  will  be  those  established  for 
the  simple  intercolumniation. 

The  top  of  the  cap  of  the  pilaster  and  the  center  of  the 
arch  are  in  the  same  horizontal  line.  The  pilaster  cap  is 
1  modulus  thick,  and  projects  \  modulus. 

The  pilaster  projects  \  modulus  on  each  side  of  the 
column.    One-third  of  the  column  is  built  into  the  pilaster. 

For  the  mouldings  and  entablature,  see  Plates  IL  and  III. 


PLATE  VI. 


TUSCAN   INTERCOLUMNIATION    WITH  ARCH 
AND  PEDESTAL. 

In  this  modification  of  the  Tuscan  Order  we  first  estab- 
lish the  opening  of  the  arch  as  before,  —  the  height  twice 
the  width,  the  measurements  being  8|  moduli  in  width  and 
17^  moduli  in  height. 

The  pilasters  are  4  moduli  wide,  and  the  distance  between 
the  centers  of  columns  is  12|  moduli,  and  the  total  height 
—  pedestal,  column,  and  entablature  —  22^  moduli. 

The  height  of  arch  opening  being  fixed,  we  add  one  mod- 
ulus for  the  depth  of  the  arch. 

This  height  is  divided  into  16  parts,  and  of  these  12  are 
given  to  the  column,  with  base  and  capital,  and  4  to  the 
pedestal.  To  this  we  add  3  parts  for  the  entablature. 
The  top  of  the  cap  of  the  pilaster  is  in  a  horizontal  line 
with  the  center  of  the  arch.  The  pilaster  cap  is  1  modulus 
high. 

The  top  of  the  arch  is  1  modulus  and  2  parts  below  the 
entablature.    The  cap  is  shown  in  double  scale  on  Plate  II. 

One-third  of  the  column  is  built  into  the  pilaster.  The 
mouldings  are  taken  from  Plate  II.  as  before. 


PLATE  VII. 


THE  DORIC  PEDESTAL. 

ViGNOLA  gives  this  Pedestal  a  height  of  ò\  moduli^  and 
divided  it  into  3  parts,  —  Base,  Plinth,  and  Cap.  The  base 
is  10  parts  high,  and  projects  4|-  parts.  The  plinth  has  a 
height  of  4  moduli,  and  a  width  of  2  moduli  and  10  parts. 
The  cap  is    modulus  high,  and  also  projects  ^  modulus. 

The  Doric  Column. 

The  base  is  1  modulus  high  and  projects  5  parts.  Vig- 
nola  gives  the  column  20  flutings,  which  are  described  as 
follows  : 

The  largest  circumference  of  the  column  is  divided  into 
20  parts  by  points.  Place  one  leg  of  a  pair  of  compasses 
on  one  of  these  points,  and  with  a  radius  equal  to  the  chord 
between  two  adjacent  points  on  the  circumference,  make 
an  indefinite  arc  outside  the  circumference. 

Reverse  the  position  of  the  legs  of  the  compasses,  and 
make  another  arc,  cutting  the  first. 

The  point  B,  where  the  two  arcs  cross,  is  the  center  of 
the  arc,  forming  one  fluting. 

The  flutings  of  the  Doric  Order  meet,  forming  a  sharp 
edge.  The  modulus  of  the  Doric  Order  is  divided  into  12 
parts. 


PLATE  Vili. 

THE    DORIC    CAPITAL    AND  ENTABLATURE. 
FiKST  Style. 

This  example  of  the  Doric  Order  is  taken  from  the 
theater  of  Marcellus  in  Eome,  and  has  the  same  propor- 
tions. Vignola  gives  the  Doric  capital  a  diameter,  in  the 
body,  of  If  moduli,  a  height  of  1  modulus  (exclusive  of 
bead  at  top  of  column),  and  5^  parts  of  projection. 

The  entablature  is  4  moduli  high,  which  is  \  the  com- 
bined height  of  base,  column,  and  capital. 

The  architrave  is  1  modulus  high,  and  is  crowned  by  a 
fillet  of  1  of  its  height. 

Under  every  triglyph  is  a  little  inclined  fillet  having 
pendent  bell-shaped  drops.  (Guttae.) 

The  frieze  is  1 1  moduli  high  and  is  adorned  with  metope 
and  triglyph.  The  metopes  are  always  square,  and  may  be 
ornamented  with  heads  of  animals,  coats-of-arms,  trophies 
of  war,  or  jnay  have  symbols  explaining  the  use  for  which 
the  building  is  designed.  The  triglyph  is  1  modulus  wide, 
and  is  divided  by  2  flutings.  In  designing  the  frieze  of  the 
Doric  Order,  whatever  license  is  taken  with  the  triglyph 
and  metope,  the  centers  of  triglyph  and  column  must  be  in 
line  with  each  other.  The  height  of  the  cornice  is  mod- 
uli, and  it  projects  2  moduli.  The  mouldings  will  be  under- 
stood from  the  illustrations.  The  plan  of  the  under  side 
(Soffit)  of  the  projecting  cornice  is  given  to  show  Vignola's 
method  of  ornamenting  that  portion  of  the  edifice  ;  but  the 
ornamentation  is  not  fixed  by  rigid  rule,  but  rather  is 
adorned  according  to  the  fancy  of  the  architect. 


\ 

\ 


PLATE  IX. 


THE  DORIC  CAPITAL  AND  ENTABLATURE. 
Second  Style. 

For  this  modification  of  the  Doric  Order,  Yignola  used 
many  fragments  from  ancient  Roman  architecture. 

The  differences  between  this  and  the  first  style  are  in  the 
capital,  architrave,  and  cornice.  In  the  place  of  the  three 
little  fillets  of  the  first  capital  we  have  an  ornamented  bead. 
The  convex  moulding  is  also  ornamented.  The  architrave 
has  the  same  height  and  ^  modulus  projection.  It  is  divided 
into  two  bands,  and  is  ornamented  at  the  top  by  a  fillet 
which  is  -1-  modulus  high. 

The  ornamentation  of  the  metope  only  of  the  frieze  is 
different.  The  upper  moulding. of  the  cornice  is  changed 
from  a  concave  to  an  ogee,  and  in  place  of  the  dentils,  or 
teeth,  we  have  the  modillions,  or  brackets,  which  must  be 
placed  in  line  with  the  triglyphs. 


PLATE  X. 


SIMPLE  DORIC  INTERCOLUMNIATIOK 

From  this  arrangement  are  taken  the  measurements  for 
all  the  modifications  of  the  Doric  Order. 

We  divide  the  total  height  into  20  parts,  one  of  which 
serves  us  as  the  modulus,  and  which  is  also  divided  into  12 
parts.  The  base,  with  the  fillet  of  the  base  of  the  column, 
is  1  modulus  high.  The  shaft,  with  fillet  and  bead,  is  14 
moduli  high. 

The  capital  has  a  height  of  1  modukis. 

The  entablature  is  4  moduli  high,  or  \  of  column  with 
base  and  capital.  The  total  height  is  20  moduli,  and  is 
divided  as  just  described. 

The  best  spacing  of  columns  in  this  modification  of  the 
Doric  Order  is  1^  moduli  between  centers.  This  spacing 
gives  a  nice  adjustment  of  the  triglyph  and  metope.  The 
centers  of  triglyph  and  column  must  be  in  line  with  each 
other. 


PLATE  XI. 


ARCHED  DORIC  INTERCOLUMNIATION, 

In  this  modification  of  the  Doric  Order  the  proportions 
are  two  to  one  (20  to  10)  ;  that  is,  the  total  height  is  twice 
the  distance  between  centers  of  columns.  The  distance 
between  pilasters  is  7  moduli,  and  the  pilasters  are  3  mod- 
uli wide,  giving  10  moduli  between  centers  of  pilasters. 

The  width  of  arch  opening  is  7  moduli,  the  height  14,  the 
top  being  2  moduli  below  the  entablature. 

These  proportions  afford  the  best  opportunities  for  the 
arrangement  of  the  details,  notably  the  triglyphs  and 
metopes. 

Vignola  builds  one-third  of  his  columns  into  the  pilasters, 
which  method  brings  the  extreme  projection  of  the  cap  of 
the  pilaster  to  the  center  line  of  columns. 

The  cap  of  the  pilaster  is  1  modulus  thick  and  \  modulus 
projection. 

For  details,  see  previous  plates. 


PLATE  XII. 


ARCHED  DORIC  INTERCOLUMNIATION  WITH 
PEDESTAL. 

Ix  this  modification  of  the  Doric  Order  there  are  15 
moduli  between  centers  of  columns,  and  25^  moduli  in 
total  height. 

The  arch  opening  is  20  moduli  high  and  10  moduli  wide. 
This  proportion  of  parts  gives  a  good  distribution  of  the 
triglypli  and  metope. 

The  pedestal  is  5^  moduli  high,  and  the  column,  with 
base  and  caj^ital,  is  16  moduli  high. 

The  pilasters  are  5  moduli  wide. 

The  top  of  the  arch  is  2  moduli  below  the  entablature. 
For  the  details,  see  previous  plates. 


PLATE  XIIT. 


THE  IONIC  PEDESTAL. 

It  must  be  remembered  here  that  the  Ionic,  Composite, 
and  Corinthian  modulus  is  divided  into  18  parts.  Vignola 
gives  the  pedestal  as  6  moduli  high  (which  is  one-third  of 
the  column,  with  base  and  capital).  It  is  divided  into  3 
parts, — base,  plinth,  and  cap.  The  base  is  9  parts  high  and 
projects  8  parts.  The  plinth  is  5  moduli  high,  including 
two  fillets.  It  is  2  moduli  and  14  parts  wide.  The  cap  is 
i  modulus  high  and  projects  10  parts.  The  outline  is  given 
with  full  dimensions. 

Concerning  the  Column. 

The  base  of  the  column  is  1  modulus  high  and  projects 
7  parts. 

Vignola  gives  this  column  24  semicircular  flutings,  which 
are  3^  parts  in  diameter,  leaving  a  space  between  each  two 
of  one-third  the  fluting. 

(The  exact  proportions  are  :  fluting,  3.534  parts  ;  space, 
1.178  parts.) 


PLATE  XIV. 


THE  IONIC  CAPITAL. 

In  this  capital  the  volutes  are  of  such  construction  that 
the  fillet  and  bead,  which  properly  belong  to  the  column, 
are  included  in  the  construction  of  the  capital,  making  it  15 
instead  of  12  parts  high.  The  fillet  is  1  part,  and  the  bead 
2  parts,  high.  The  quarter-round  is  5  parts  high.  Next 
comes  the  "  gorge,''  3  parts  high,  one  half  of  which  is  per- 
pendicular, and  the  other  half  a  quarter-circle  ;  next  comes 
a  fillet  1  part  wide,  which,  with  the  gorge,  is  carried  round 
the  volute.  After  the  fillet  comes  an  ogee  2  parts  high  and 
a  fillet  1  part  high. 

The  Projection". 

From  a  perpendicular  from  the  side  of  the  smallest  diam- 
eter of  the  column,  the  first  projection  —  the  fillet  at  the 
top  —  is  5  parts,  the  ogee  3  parts,  the  fillet  2^  parts,  the 
gorge  of  the  volute  i  part.  The  convex  projects  7  parts, 
the  bead  3  parts,  and  the  fillet  2  parts. 


PLATE  XV. 


THE  IONIC  VOLUTE. 

A  DRAWING  for  the  volute  of  an  Ionic  capital  may  be 
made  as  follows  :  Having  the  outline  of  the  capital,  the 
center  of  the  volute  is  on  the  horizontal  line  of  the  top  of 
the  bead  at  the  top  of  the  column,  and  3  parts  from  the 
side,  and  18  parts  from  the  center  of  the  column.  Draw 
the  eye  —  a  circle  —  2  parts  in  diameter.  Inscribe  a  square 
in  this  circle  with  perpendicular  and  horizontal  diagonals. 
Bisect  the  sides  with  45°  lines  through  the  center.  The 
ends  of  these  last  are  the  four  centers  for  the  first  turn  of 
the  volute.  From  the  center  of  the  eye  lay  off  9  parts 
above  (just  touching  the  ogee),  8  parts  to  the  right,  7  parts 
below,  and  6  parts  to  the  left.  From  point  1  (see  enlarged 
diagram  of  eye),  with  radius  reaching  the  9-point,  strike  an 
arc.  It  will  pass  through  point  8.  With  radius  2,  8  make 
the  next  quarter,  with  3,  7  make  the  third,  and  with  4,  6 
complete  the  first  turn  of  the  volute.  The  second  turn  is 
made  from  centers  5,  6,  7,  8,  which  are  \  of  the  half-diago- 
nal from  points  1,  2,  3,  4,  and  the  third  turn  is  made  from 
points  9,  10,  11,  12.  The  inner  line  of  the  fillet  of  the 
volute  is  made  to  taper  toward  the  outside  line  by  using  a 
center  ^  of  a  half-diagonal  nearer  the  center  of  the  eye 
(see  0  on  diagram)  than  is  used  for  the  corresponding  out- 
side line. 

The  outlines  and  dimensions  of  the  capital  are  given  in 
the  second  drawing,  which  also  shows  the  form  of  the  roll 
of  the  volute  midway  between  the  two  face's. 


PLATE  XVI. 


THE  IONIC  CAPITAL  AND  ENTABLATURE. 

The  capital  is  15  parts  higli^  and  comprises  the  fillet  and 
bead^  which,  in  the  other  orders,  belong  to  the  column. 
The  capital  is  outlined  by  two  perpendiculars,  each  1  mod- 
ulus from  the  center  of  the  shaft,  which  pass  through  the 
centers  of  the  eyes  of  the  volutes.  The  total  height  of  the 
volute  is  16  parts,  —  8  over  the  eye,  2  of  the  eye,  and  6 
under  the  eye. 

Vignola  gives  the  Tonic  entablature  a  height  of  4^  moduli, 
which  is  \  the  altitude  of  the  column,  with  base  and  capital. 
The  ratio  of  altitude  of  the  three  members  of  the  entabla- 
ture is  5  to  6  to  7.  The  architrave  is  1^  moduli  high,  and 
projects  5  parts.  The  frieze  is  1^  moduli  high,  and  is  orna- 
mented with  griffins,  candelabra,  arabesque,  etc.  The  cor- 
nice is  If  moduli  high,  and  projects  1  modulus  and  13  parts. 
The  proportions  of  the  mouldings  may  be  learned  from  the 
plate. 


PLATE  XVII. 


SIMPLE  IONIC  INTERCOLUMNIATION. 

In  this  modification  of  the  Ionic  we  divide  the  total 
height  into  5  parts^  —  4  for  the  column^  with  base  and 
capital^  and  1  for  the  entablature. 

The  column,  with  base  and  capital,  is  18  moduli  high. 
The  base  is  1  modulus  high,  the  shaft  16 1,  and  the  capital 
I  modulus  high. 

The  entablature  is  divided  in  proportions  of  5,  6,  and  7, 
1\  moduli  for  the  architrave,  1\  moduli  for  the  frieze,  and 
If  moduli  for  the  cornice. 

The  distance  between  columns  is  4|-  moduli,  and  6^  mod- 
uli between  centers. 

For  the  details,  see  previous  plates. 


PLATE  XVIII. 


IONIC  INTERCOLUMNIATION  WITH  ARCH, 

This  modification  of  the  Ionic  has  11^  moduli  between 
centers  of  cohimns.  Three  of  these  are  for  the  pilaster  and 
8^  for  arch  opening,  whose  height  is  double  its  width,  or 
17  moduli. 

These  proportions  can  only  be  departed  from  under  ex- 
traordinary circumstances.    See  Plate  II.  for  details. 

This  Intercolumniation  is  most  easily  calculated  next  to 
the  Tuscan;  the  arrangement  of  the  dentils  not  requiring 
so  precise  a  location  as  that  of  the  triglyph  of  the  Doric 
Order  nor  that  of  the  Corinthian  modillion. 

The  pilaster  projects  \  modulus  each  side  of  the  column, 
and  its  cap  is  19  parts  high.  The  depth  of  the  arch  is  \ 
modulus,  and  the  distance  from  the  top  of  arch  opening  to 
the  entablature  is  1  modulus. 


PLATE  XIX. 


ARCHED    IONIC    INTERCOLUMNIATION  WITH 
PEDESTAL, 

In  tliis  modification  of  the  Ionic  Order  the  distance 
between  centers  of  columns  is  15  moduli,  and  the  total 
height  is  28^  moduli.  The  pilaster  is  4  moduli  wide,  and 
the  arch  opening  11  moduli  wide  by  22  high.  The  total 
height  (28i-  mod.)  is  divided  into  19  equal  parts.  Of  these, 
4  are  for  the  pedestal,  12  for  the  column,  and  3  for  the 
entablature.  Hence  the  pedestal  is  -J-  the  height  of  the 
column,  and  the  entablature  \  that  height. 

The  details  have  been  explained. 

The  pilaster  projects  1  modulus  from  the  side  of  the 
column,  and  its  cap  is  1  modulus  high  with  ^  modulus  pro- 
jection. 

The  depth  of  the  arch  is  1  modulus.  The  bracket  is  2 
moduli  high. 

For  an  enlarged  drawing  of  the  pilaster  cap,  see  Plate 
XIII. 


PLATE  XX. 


THE  CORINTHIAN  PEDESTAL. 

The  height  of  this  Pedestal  is  a  little  more  than  ^  of  the 
column. 

The  height  of  the  plinth  is  double  its  width.  The  height 
is  5  moduli  and  10  parts,  with  the  fillets  at  top  and  bottom. 

The  cap  is  14  parts  high,  or  \  of  the  total  height  of  the 
pedestal,  and  projects  8  parts. 

The  base  is  12  parts  high  and  projects  8  parts. 

The  Base  of  the  Column. 

The  Base  is  1  modulus  high  and  projects  7  parts. 

The  Shaft  of  the  Column  is  ornamented  with  24  semi- 
circular fiutings,  each  about  3^  parts  wide,  separated  by 
spaces  ^  as  wide  as  the  flutings. 


PLATE  XXI 


THE  CORINTHIAN  CAPITAL. 

YiGNOLA  makes  this  Capital  2  moduli  and  6  parts  liigii. 
The  bell  is  2  moduli,  and  the  abacus  6  parts  high.  The 
sides  of  the  bell  are  perpendicular  1  modulus  and  10  parts 
from  the  bottom.  The  concave  moulding  of  the  bell  is  6 
parts  high  and  projects  G  parts,  and  the  quarter-round 
moulding  above  it  is  2  parts  high. 

The  capital  is  ornamented  by  two  courses  of  leaves  of 
equal  height,  disposed  in  such  a  manner  that,  in  the  plan, 
they  alternate  round  the  column. 

The  stems  of  the  upper  leaves  come  between  the  lower 
leaves,  and  the  stem  from  which  spring  the  volutes  comes 
from  the  space  between  the  upper  leaves,  making  the  angle 
volute,  and  the  smaller  middle  one.  Over  the  small  volutes 
in  the  middle  of  each  side  of  the  table,  or  abacus,  of  the 
capital  is  a  flower  or  rosette. 

The  table  is  formed  of  three  mouldings  ;  at  the  top  a 
quarter-rounc^  then  a  fillet,  and  then  the  abacus. 

The  plan  of  the  Capital  is  a  hollow-sided  square,  having 
diagonals  4  moduli  long.  On  one  side  of  this  square  con- 
struct an  equilateral  triangle. 

The  outside  angle  of  this  triangle  will  be  the  center  for 
an  arc  of  a  circle  forming  one  side  of  the  table. 

The  plan  and  elevation,  together  with  this  description, 
are  suflicient  to  make  the  whole  subject  clear. 

In  the  elevation,  the  projection  and  elevation  of  the  leaves 
are  shown,  touching  a  line  tangent  to  abacus  and  top  bead 
of  column. 

The  plan  is  indispensable  in  constructing  the  elevation. 


PLATE  XXII. 


THE  CORINTHIAN  ENTABLATURE, 

This  Entablature  is  taken  from  various  places  in  Eome, 
but  chiefly  from  tlie  rotunda  of  the  Forum. 

The  total  height  is  \  the  height  of  the  column,  with  base 
and  capital,  or  5  moduli,  divided  in  the  proportions  3,  o, 
and  4.  The  architrave  is  l^-  moduli  high  divided  into  3 
bands. 

The  frieze  is  1^  moduli  high,  and  at  the  top  is  ornamented 
by  a  fillet  and  a  bead. 

The  cornice  is  2  moduli  high,  with  2  moduli  and  2  parts 
projection.  The  mouldings  are  easily  understood  from  the 
plate. 

One  bracket  must  come  exactly  in  line  with  the  center 
of  a  column. 

The  ornaments  on  the  mouldings,  the  dentils,  etc.,  must 
always  be  spaced  in  the  same  regular  order. 


PLATE  XXIII. 


SIMPLE  CORINTHIAN  COLUMNIATION 

The  height  of  this  modification  of  the  Corinthian  Order 
is  divided  into  5  parts,  1  for  the  entablature  and  4  for  the 
column,  with  base  and  capital. 

The  column,  with  base  and  capital,  is  20  moduli,  and  the 
entablature  5  moduli  high. 

The  Column  is  divided  thus  :  base,  1  modulus  ;  shaft,  16 
moduli  and  12  parts  ;  capital,  2  moduli  and  6  parts  high. 

The  Entablature  is  proportioned  as  follows  :  the  archi- 
trave, 11  moduli  ;  the  frieze,  1^  moduli  ;  and  the  cornice,  2 
moduli  high. 

The  mouldings  will  be  understood  from  previous  plates. 
The  distance  between  centers  of  columns  is  6  moduli  and 
12  parts. 


PLATE  XXIV. 


ARCHED  CORINTHIAN  INTERGOLUMNIATION. 

In  this  modification  of  the  Corinthian  Order  the  distance 
between  centers  of  columns  is  12  moduli,  and  the  total 
height  25  moduli.  The  arch  opening  is  9  moduli  wide  and 
18  higli.  The  pilaster  is  3  moduli  wide  — i  of  the  width  of 
arch  opening. 

The  details  will  be  comprehended  from  what  has  already 
been  stated. 

The  cap  of  the  pilaster  is  1  modulus  high  and  projects 
6  parts.  This  is  ornamented  by  various  mouldings,  in  pro- 
portions which  may  be  easily  understood  from  the  double 
scale  drawing  on  Plate  XX. 

The  top  of  the  arch  opening  is  2  moduli  below  the 
entablature. 


PLATE  XXV. 


ARCHED    CORINTHIAN  INTERCOLUMNIATION 
WITH  PEDESTAL, 

This  modilicatioii  of  the  Corinthian  Order  is  spaced  16 
moduli  on  centers. 

The  total  height  is  32  moduli.  Of  this,  7  moduli  are  for 
the  pedestal,  20  for  the  column,  and  5  for  the  entablature. 
The  arch  opening  is  12  moduli  wide  and  25  high. 

The  pilasters  are  4  moduli  wide.  The  top  of  the  arch 
opening  is  2  moduli  below  the  entablature. 

In  the  proportions  of  this  arch,  Vignola  violates  the 
regular  rule  of  proportion  of  width  to  height.  The  result 
is,  less  wall  under  the  entablature,  a  better  proportion  for 
the  bracket,  and  a  more  elegant  appearance  of  the  whole 
structure. 

For  the  cap  of  the  pilaster,  see  Plate  XX. 


PLATE  XXVI. 


THE  COMPOSITE  PEDESTAL. 

The  Composite  Pedestal  is  like  the  Corinthian,  with 
exception  of  a  few  details,  which  will  be  understood  at  a 
glance. 

The  cap  projects  8  parts  and  is  14  parts  high.  The  base 
projects  8  parts  and  is  12  parts  high. 

The  Columx. 

The  Composite  Column  is  like  the  Corinthian,  with  the 
exception  of  the  base,  the  differences  of  which  will  be 
readily  understood  from  the  engravings. 


PLATE  XXVII. 


THE  COMPOSITE  CAPITAL. 

The  ancient  Eonians  employed  a  part  of  the  Corinthian 
and  a  part  of  the  Ionic  capitals,  and  from  them  composed 
a  capital  of  perfect  beauty.  The  plan  and  profile  of  this 
capital  have  the  same  proportions  as  the  Corinthian.  The 
variations  are  :  Instead  of  the  flower  stems,  the  Compos- 
ite has  the  volute  of  the  Ionic  capital.  The  dimensions 
of  the  upper  and  lower  leaves  Vignola  makes  of  the  same 
dimensions  as  the  Corinthian,  changing  them,  however, 
from  olive  leaves  to  the  leaves  of  the  acanthus. 

Over  the  second  leaves  he  puts  the  volute  in  the  same 
way  as  in  the  Ionic  capital.  This  volute  is,  with  the  abacus, 
16  parts  high,  and  is  arranged  as  in  the  Corinthian.  In 
the  place  of  the  stem  of  the  small  volutes  of  the  Corinthian 
are  two  flowers.  The  bell  is  made  more  prominent  with  a 
fillet,  an  ornamented  bead,  and  an  ornamented  quarter-round 
moulding  (^^egg  and  dart'^). 

In  the  center  of  the  side  of  the  abacus  is  a  flower,  as  in 
most  antique  capitals. 

The  plate  shows  the  dimensions  of  the  details. 


PLATE  XXVIII. 


THE  COMPOSITE  ENTABLATURE. 

This  Entablature  and  Capital  are,  like  the  Corinthian, 
educed  from  many  ancient  Eoman  examples.  The  plate 
shows  the  dimensions  of  the  details. 

This  entablature  does  not  have  the  brackets  and  some 
small  details  of  the  Corinthian. 

In  the  ornamentation  of  the  mouldings  no  rigid  rule  of 
spacing  or  location  is  enforced,  because  of  their  small  size. 


PLATE  XXIX. 


THE  ATTIC  BASE. 

The  Attic  Base  has  been  used  indiscriminately  for  all  the 
Orders  except  the  Tuscan,  because  of  its  beauty  ;  but  it  is 
only  appropriate  for  the  Ionic. 

The  dimensions  of  its  details  are  seen  in  Plate  XXIX. 


PLATE  XXIX. 


35 


Methods  of  Tapering  Columns. 

The  first  method  is  tlie  better  known,  and  is  used  for  the 
Tuscan  and  Doric  columns. 

At  a  point  ^  from  the  bottom  draw  a  horizontal  line 
across  the  center  line  of  the  column,  and  with  the  point  of 
intersection  as  a  center,  describe  a  semicircle.  From  this 
point  the  column  is  tapered  upward.  Divide  the  height 
into  any  number  of  equal  parts.  From  the  end  of  the  top 
diameter  of  the  column,  which  is  -|  of  the  diameter  at  the 
bottom,  drop  a  perpendicular  upon  the  semicircle  at  the 
point  D.  Divide  the  arc  DE  into  the  same  number  of 
equal  parts  as  is  the  upper  part  of  the  column.  From  each 
one  of  these  points  erect  perpendiculars  to  the  division 
lines  across.  The  points  of  intersection  will  be  points  on 
the  surface  of  the  column.  The  points  F  show  the  intersec- 
tions, and  the  points  CI  the  outline. 

Second  Method  of  Tapering  Columns. 

Vignola  invented  this  method,  and,  while  it  is  less  known 
than  the  first,  it  is  simpler. 

A  point  ^  up  the  column  is  selected  as  before.  Through 
this  point  the  axis  of  the  column  and  a  horizontal  line  are 
drawn.  A  point  E  on  the  horizontal  6  diameters  frojn  D  is 
selected,  and  lines  drawn  from  E  across  the  axis  at  points 
H.  Each  one  of  these  is  made  of  the  same  length  as  DC 
from  H,  and  the  outline  of  the  column  is  defined.  This 
method  is  best  for  Ionic,  Corinthian,  and  Composite  col- 
umns. 


PLATE  XXX. 


ENTABLATURE. 

This  beautiful  mixed  Doric  aucl  Corinthian  composition 
is  often  used. 

AVhile  the  composition  is  not  classical,  it  is  in  good  taste 
and  pleases  many. 

The  height  of  the  building  is  divided  into  11  parts,  of 
which  the  entablature  is  1. 

The  entablature  is  divided  into  o|  moduli  of  18  parts 
each. 

The  architrave  is  1  modulus  liigh  ;  the  frieze.  1  moduhis 
and  2  parts  ;  and  the  cornice,  1  modulus  and  10  parts. 


PLATE  XXXT. 


DOORWAY. 

This  illustration  is  of  a  doorway  in  the  Corinthian  Order 
of  architecture^  and  is  from  the  church  of  Sts.  Lorenzo  and 
Damaso. 

The  height  is  twice  the  width. 

The  entablature  is  |  the  height  of  the  door. 

The  brackets  under  the  cornice  ornament  and  support  it. 


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